Please Don’t Touch Me

Rape and its aftermath.

History of hypnotism.

The guitar and piano from Mesa of Lost Women, also something very like the Harmonicats’ “Peg O’ My Heart”.

“An actual case history...”

“... I just haven’t been feeling myself lately.”

Mondo Meyer.

What to buy, seat covers or a negligee?


Home to mother, “under heavy sedation.”

Lash La Rue to the rescue, therapeutically speaking.

The electropsychometer.

A director greatly admired by camp ideologues.

A sublime case study.

“I’ve lit a cigarette for you.”

“Yeah, I know.”

“What about your cigarette?”

“Yeah, cigarette.”

The hypnotist. “Peg O’ My Heart”, all but certainly.

“Was there a medical examination made, to determine whether you were actually violated?”

“No, no examination was ever performed, mother said it wasn’t necessary.”

Hm, I see.”

From La Belle et La BÍte to Repulsion, illustrating the nervous breakdown of Kazan’s The Arrangement.

“I am watching a motion picture,” called The Ring and the Darkness.


Monster and the Stripper

What a gentle art, refining the impressions down on Bourbon Street from the Okefenokee Swamp (Clyde Beatty is mentioned).

And that’s all there is to it, except that June Ormond plays a sort of Peggy Guggenheim named Bunny, the strippers belong in a circus, and it’s a pure poem throughout.

Also The Exotic Ones, it’s called. “Oh and by the way,” syndicate drugs and prostitution are part of the picture, murder too.

The “swamp thing” will rip your arm off and beat you to death with it, a tranquilizer dart immobilizes him, it’s back to the nightclub for a star attraction.

Among the variety acts are the harmonica duo who supply the soundtrack of Please Don’t Touch Me, onstage in the Dance of the Hours from La Gioconda.


If Footmen Tire You, What Will Horses Do?

A jeremiad (Jeremiah 12:5) on the imminent documented peril of a Communist takeover. Every word is the living Gospel truth.

The wayward girl with a godless consort is late to this sermon and must recall Hawks’ Sergeant York, to say nothing of Andrew Marvell as her mind wanders.

Ah, Painter, now could Alexander live,

And this Campaspe thee, Apelles, give!

The remedy, II Chronicles 7:14, is a call to arms (cf. Cavalcanti’s Went the Day Well?).

“The torments of Communism are nothing compared to the torments of a burning hell.”


The Burning Hell

The text is Matthew 10:28.

A Russellian Gehenna, a choir of stone, Mt. Sinai.

“We’re as holy as you are,” their demise is also depicted in DeMille’s The Ten Commandments.

A hippie vision repudiated (cf. “Hell’s Bells”, dir. Theodore J. Flicker for Night Gallery).

Belshazzar in Hell.

King Herod’s worms.

Dives and Lazarus (“Pontius Pilot” is a banquet guest, “the infamous”).

“Mr. Dives”, says Caiaphas, “was a personal friend of mine.”

Father Abraham, too, is from the South.

Dante is not more severe. “Come back, Moses, I didn’t mean it!”

The locust army.

Inhabitants of Hell. “He thinks everyone’s John the Baptist. You’re not John the Baptist, are you?”

Filmed in Tennessee or thereabouts and the Holy Land.


The Grim Reaper

The old Adam, a father who teaches unrepentance in his son.

Various episodes illustrate the dilemma of unbelief. Paul and the jailer, the Witch of Endor (in this instance, the Halloween variety), complaining Israelites unto Moses.

Judgment Day.

Lot’s wife.

Judas. “He keeps tossing thirty pieces of silver out of his hand, but they keep bouncing back, bouncing back.”


The late stock car racer’s father (“it was so... it was all so real”) heeds the altar call.